Bara no soretsu/Funeral Parade of Roses (Toshio Matsumoto, 1969)
‘Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intesely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. i wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema.’
– Matsumoto, 1996.